Bonnie C. Wade
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780226085210
- eISBN:
- 9780226085494
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226085494.001.0001
- Subject:
- Music, Ethnomusicology, World Music
When, in the second half of the nineteenth century, Japanese leaders put into motion processes of modernization, Western music was adopted into the curriculum of a new educational system as a ...
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When, in the second half of the nineteenth century, Japanese leaders put into motion processes of modernization, Western music was adopted into the curriculum of a new educational system as a technology for producing shared cultural space for all Japanese people. As the infrastructures of modernity developed, a new role of composer apart from performer was created to meet the needs that emerged in education, industry and commerce (Part 1). The absorption of Western music in Japan did indeed create an environment of shared cultural space— shared internally by all Japanese people including those who have continued to cultivate traditional musical practices (albeit marginalized), and also shared internationally as Japanese composers have increasingly benefitted from, participated in, and contributed to global cosmopolitan culture (Part 2). The particular nature of the reception in Japan of European spheres of musical participation— orchestras, small ensembles for chamber and contemporary music, wind bands, and choruses--has afforded composers a variety of opportunities to create repertoire for musicians both professional and amateur (Part 3). Although the role of composer was new, based on primarily ethnographic research this book argues that most Japanese composers have maintained a socially relational role in their society as performer-composers previously did, as they respond with artistic flexibility to expectations of Japanese musical modernity.Less
When, in the second half of the nineteenth century, Japanese leaders put into motion processes of modernization, Western music was adopted into the curriculum of a new educational system as a technology for producing shared cultural space for all Japanese people. As the infrastructures of modernity developed, a new role of composer apart from performer was created to meet the needs that emerged in education, industry and commerce (Part 1). The absorption of Western music in Japan did indeed create an environment of shared cultural space— shared internally by all Japanese people including those who have continued to cultivate traditional musical practices (albeit marginalized), and also shared internationally as Japanese composers have increasingly benefitted from, participated in, and contributed to global cosmopolitan culture (Part 2). The particular nature of the reception in Japan of European spheres of musical participation— orchestras, small ensembles for chamber and contemporary music, wind bands, and choruses--has afforded composers a variety of opportunities to create repertoire for musicians both professional and amateur (Part 3). Although the role of composer was new, based on primarily ethnographic research this book argues that most Japanese composers have maintained a socially relational role in their society as performer-composers previously did, as they respond with artistic flexibility to expectations of Japanese musical modernity.
Hiroshi Ishii and Adolfo Plasencia
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780262036016
- eISBN:
- 9780262339308
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036016.003.0011
- Subject:
- Society and Culture, Technology and Society
Hiroshi Ishii conducts research in the MIT Media Lab in two principal areas: the field of Human-Computer Interactions, and the field of interface design linking human beings, digital information and ...
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Hiroshi Ishii conducts research in the MIT Media Lab in two principal areas: the field of Human-Computer Interactions, and the field of interface design linking human beings, digital information and the environment. In this dialogue, Hiroshi describes two of the basic concepts of the Media Lab: the first is to achieve ‘tangible bits’ in human-computer interaction, and the second concerns ‘affordance’, which refers to the possibility of an action on an object or environment, in particular, those of which we are aware. He also explains how they create ‘digitally augmented objects’ to improve our understanding and knowledge of objects and their immediate environment. Hiroshi later reflects on the difficulties of developing natural language interfaces, and whether ‘things can think’—he is co-director of Things That Think. He also discusses breakthroughs with his ‘radical atoms’ vision of developing materials that have a shape and appearance which can be digitally transformed to make them as reconfigurable as pixels on a screen. Finally, he outlines some of his projects, such as eg. one related to the use of kinetic memory, the ability to ‘record and playback physical motion’.Less
Hiroshi Ishii conducts research in the MIT Media Lab in two principal areas: the field of Human-Computer Interactions, and the field of interface design linking human beings, digital information and the environment. In this dialogue, Hiroshi describes two of the basic concepts of the Media Lab: the first is to achieve ‘tangible bits’ in human-computer interaction, and the second concerns ‘affordance’, which refers to the possibility of an action on an object or environment, in particular, those of which we are aware. He also explains how they create ‘digitally augmented objects’ to improve our understanding and knowledge of objects and their immediate environment. Hiroshi later reflects on the difficulties of developing natural language interfaces, and whether ‘things can think’—he is co-director of Things That Think. He also discusses breakthroughs with his ‘radical atoms’ vision of developing materials that have a shape and appearance which can be digitally transformed to make them as reconfigurable as pixels on a screen. Finally, he outlines some of his projects, such as eg. one related to the use of kinetic memory, the ability to ‘record and playback physical motion’.
Bonnie C. Wade
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780226085210
- eISBN:
- 9780226085494
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226085494.003.0001
- Subject:
- Music, Ethnomusicology, World Music
The Introduction distinguishes the modern Japanese composer from the performer-composer in the sphere of Japanese traditional music. The author situates herself in terms of experience and motivation ...
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The Introduction distinguishes the modern Japanese composer from the performer-composer in the sphere of Japanese traditional music. The author situates herself in terms of experience and motivation and the book in terms of ethnomusicology. The discussion of modernity in the book is framed and affordance theory established as the analytic.Less
The Introduction distinguishes the modern Japanese composer from the performer-composer in the sphere of Japanese traditional music. The author situates herself in terms of experience and motivation and the book in terms of ethnomusicology. The discussion of modernity in the book is framed and affordance theory established as the analytic.
Andrej Radman
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474421041
- eISBN:
- 9781474438605
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421041.003.0011
- Subject:
- Philosophy, Aesthetics
The chapter suggests that the dominant architectural history is too logocentric and not speculative enough. As such, its only merit is to translate a coexistence of becomings into a succession of ...
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The chapter suggests that the dominant architectural history is too logocentric and not speculative enough. As such, its only merit is to translate a coexistence of becomings into a succession of neat logically necessary types. The case will be made for the role of topology as the antidote to the pernicious typological essentialism. Architecture needs to be free from the ideas of epoch and destiny. Following Brian Massumi’s lead, the speculative aspect relates to the contingently obligatory becoming, an event: “intrepidly future-facing, far-rangingly foretracing.” While it would appear logical that space should precede affordance, in fact the inverse holds true. The degree zero of spatial experience occurs at the level of the unconscious and is proto-subjective and sub-representational. As Hayles put it, consciousness is overrated. In terms of architectural thinking everything begins from the sensible. However, the task of speculative thinking is to go beyond the sensible to the potentials that make sensibility possible. After all, the basic medium of the discipline of architecture, as we see it, is the ‘space of experience’. This spatium, which is not to be confused with the ‘experience of space’, does not pre-exist but subsists as a virtuality. According to Deleuze, the plane of composition - as a work of sensation - is aesthetic: "it is the material that passes into the sensation." Once aesthetics is drawn into the context of production its realm expands to become a dimension of being itself. Both subjects and objects come to be seen as derivative. Consequently, the mereological relationship - which is perfectly suitable for the realm of the extensive - needs to be radically revamped in order to become capable of capturing topological transformations. But what we are advocating is not a formalisable model. Quite the contrary, any technological determinism needs to be kept at bay. What is needed instead is heuristics as a practice of material inference. However disadvantageous this may seem to the architect, it will prove not to be so once we fully grasp the Affective Turn and its implications for the discipline. It might become apparent that it is through habit, rather than attention, and collectivity, rather than individualism, that we find the (royal) road to the understanding of ‘space’, or better still, that we take a (minor) apprenticeship in spatialisation.Less
The chapter suggests that the dominant architectural history is too logocentric and not speculative enough. As such, its only merit is to translate a coexistence of becomings into a succession of neat logically necessary types. The case will be made for the role of topology as the antidote to the pernicious typological essentialism. Architecture needs to be free from the ideas of epoch and destiny. Following Brian Massumi’s lead, the speculative aspect relates to the contingently obligatory becoming, an event: “intrepidly future-facing, far-rangingly foretracing.” While it would appear logical that space should precede affordance, in fact the inverse holds true. The degree zero of spatial experience occurs at the level of the unconscious and is proto-subjective and sub-representational. As Hayles put it, consciousness is overrated. In terms of architectural thinking everything begins from the sensible. However, the task of speculative thinking is to go beyond the sensible to the potentials that make sensibility possible. After all, the basic medium of the discipline of architecture, as we see it, is the ‘space of experience’. This spatium, which is not to be confused with the ‘experience of space’, does not pre-exist but subsists as a virtuality. According to Deleuze, the plane of composition - as a work of sensation - is aesthetic: "it is the material that passes into the sensation." Once aesthetics is drawn into the context of production its realm expands to become a dimension of being itself. Both subjects and objects come to be seen as derivative. Consequently, the mereological relationship - which is perfectly suitable for the realm of the extensive - needs to be radically revamped in order to become capable of capturing topological transformations. But what we are advocating is not a formalisable model. Quite the contrary, any technological determinism needs to be kept at bay. What is needed instead is heuristics as a practice of material inference. However disadvantageous this may seem to the architect, it will prove not to be so once we fully grasp the Affective Turn and its implications for the discipline. It might become apparent that it is through habit, rather than attention, and collectivity, rather than individualism, that we find the (royal) road to the understanding of ‘space’, or better still, that we take a (minor) apprenticeship in spatialisation.
Paul McCormick
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780719099335
- eISBN:
- 9781781708613
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099335.003.0004
- Subject:
- Literature, 20th-century and Contemporary Literature
Paul McCormick takes a narratological approach in examining the cinematic qualities of House of Leaves as part of the book’s ‘media interface.’ Borrowing the term ‘affordance’ from ecological ...
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Paul McCormick takes a narratological approach in examining the cinematic qualities of House of Leaves as part of the book’s ‘media interface.’ Borrowing the term ‘affordance’ from ecological psychologist J. J. Gibson, which signifies both the inherent properties of an artefact and its perceived usage, McCormick proposes that Danielewski transposes the media affordances of cinema into the book medium in four central ways: a video diary, the perceptual frame of a surveillance camera, the concept of cinematic montage, and a documentary film. These borrowings create what McCormick calls a ‘postmodern uncertainty’ and a ‘level of indeterminacy’ which render the novel both eternally incomplete and firmly situated within the media environment of 1990s America.Less
Paul McCormick takes a narratological approach in examining the cinematic qualities of House of Leaves as part of the book’s ‘media interface.’ Borrowing the term ‘affordance’ from ecological psychologist J. J. Gibson, which signifies both the inherent properties of an artefact and its perceived usage, McCormick proposes that Danielewski transposes the media affordances of cinema into the book medium in four central ways: a video diary, the perceptual frame of a surveillance camera, the concept of cinematic montage, and a documentary film. These borrowings create what McCormick calls a ‘postmodern uncertainty’ and a ‘level of indeterminacy’ which render the novel both eternally incomplete and firmly situated within the media environment of 1990s America.
